Barthes tell us that: "According to an ancient etymology, the word image should be linked to the root imitari. Thus we find ourselves immediately at the heart of the most important problem facing the semiology of images: can analogical representation (the "copy") produce true systems of signs and not merely simple agglutinations of symbols? [...] Nor are linguists the only ones to be suspicious as to the linguistic nature of the image; general opinion too has a vague conception of the image as an area of resistance to meaning-this in the name of a certain mythical idea of Life: the image is representation, which is to say ultimately resurrection, and, as we know, the intelligible is reputed antipathetic to lived experience."

Could we wonder ourselves, when entering a space of representations (or an artistically intervened space), if it is the person’s own body the object of study for its own mind through its perception, or if it is being the mind a subjectivity surveying a body producing text-images on itself. Merleau-Ponty's statement brings a possibility to enter not the questioning itself precisely, but a way to consider the mediation of such questioning further by stating, “Nothing determines me from outside, not because nothing acts upon me, but, on the contrary, because I am from the start outside myself and open to the world.”

A geometrical composition using text. Text as image, image as text. To our mind, a word becomes more than a word once it is evoked, it produces an image, a meaning. It is through speech that we share the world and learn its knowledges while we become thsoe knowledges, those consciences. According to Ranciere: “The human animal learns everything in the same way as it initially learnt its mother tongue, as it learnt to venture into the forest of things and signs surrounding it, so as to take its place among human beings: by observing and comparing one thing with another, a sign with a fact, a sign with another sign”. In the “Concept-Context"; iterations & variations on-going series, the geometricity in the word-game design becomes a consequence of content, an encounter with form; the word-game becomes an infinite loop of possibilities, it is a statement as much as it is an invitation to continue playing with it.